tjpham



(No Model.)

C. L. BARRY 8c G. B. UPI-1AM.

METHOD OF PRODUCING DRAMATIC PERFORMANGESK No. 406,252. Patented July 2, 1889 WITNESSES IJVVVEJVTVORS' @441 $4M 4 4m z QM I .dttorney5 n4 PEIERS. Phnla-Liihogrlphor, Wuhingion nc UNITED STATES PATENT OFFICE.

O. LAWVRENCE BARRY AND GEORGE B. UPHAM, OF BOSTON, MASSACHUSETTS.

METHOD OF PRODUCING DRAMATIC PERFORMANCES.

SPECIFICATION forming part of Letters Patent No. 406,252, dated July 2, 1889.

Application filed September 25, 1888. Serial No. 286,365. (No model.)

the art of producing dramatic compositions,

and has for its object to apprise the spectator of the current of events conceived to happen in the intervals in the performance of the same.

To this end it consists in producing in the said intervals pictorial presentations in serial order, narrative of the plot of the drama otherwise left to the imagination of the spectator.

In the drawings, Figure 1 is a plan view of the stage provided with the apparatus which we use by preference for producing the pictorial presentations. Fig. 2 is an elevation of a curtain provided with a semi-transparency having a tableau thrown thereon.

In a large proportion of dramatic composi tions the events are conceived to extend over a long period of time, and necessitate the action to take place at removed periods. To bridge over this lapse in the dramatic representation heretofore, the actor has been put to the necessity of apprising the spectator that between certain presentations a certain length of time is supposed to elapse, and leave the development of the plot in the interim to the imagination of the spectators. This make-shift of modern dramatic performances proves particularly inadequate in the instance of an adaptation of a novel for dramatic representation. In this class of dramas the scheme of the representation lies in the current of events which tend toward the climaxes which are represented in the acts of the drama. To ,obviate this objection is the purpose of the present invention. The first step in this method is to have the troupe enacting the drama continue the action in pantomime narrative of the incidents conceived to transpire in the intervals or intermissions, the scenes being shifted to suit the thread of the story as in the regular action. During the pantomime action photographic negatives are taken at interesting situations and givena serial designation. These negatives are used as in the art of photography in printing the photographs on a transparent slide of a stereopticon. For the better or more realistic representation, the photographs may be, and are by us, colored to conform with the costumes of the troupe.

As the drama proceeds, between the acts, in many theaters, there is brought down what is technically termed an act-drop or a supplementary curtain. In the center of this act-drop we insert a panel of semi-transparent material, such as is used in all representations of stereopticon views. Around the edge of this panel for ornament we provide an imitation picture-frame. In our manipulation of the curtains of the stage we pre- -fer to lower the curtain proper between all acts, and then the act-drop behind the curtain, the reason for which will be apparent farther on.

During the part of the performance which this invention supplies the auditorium is darkened and the stereopticon, which is on the stage in the rear of the curtains, is focused on the semi-transparent panel B, the outer curtain being lowered until the first View is thrown on the said panel, when it is raised, displaying the scene on the panel. The pictorial drama, as we shall for convenience designate the serial production of the said photographs, now commences, one picture following another in the order in which they were taken, thus reproducing the interesting situations of the pantomime described above. In this manner the audience is kept apprised of the incidents of the plot of the drama in their serial order of happening.

WVhile in the above the troupe alone have been photographed, together with the theatrical accessories, we do not confine ourselves to that manner of procuring the narrative scenes. WVhere we can better represent the scene by photographing a picture, as in a battle scene, which it is always impracticable to represent on the stage, we take a photograph of a picture which suits the incident and introduce it in its proper serial order.

IVhile we have only described the method of pictorially presenting the incidents in the development of a plot by means of the stereopticon, we do not confine ourselves to that means only.

While the above-described pictorial drama is being produced, the stage is being made ready and the actors are dressing for the next act. \Vhen the pictorial drama is brought to a close, the outer curtain is rungdown, covering the last scene on the panel. The act-drop is then raised and the stage cleared for the act of the drama proper.

'What we claim is 1. The improvement in the art of producing dramatic compositions which consists in representing part of the drama by means of actors and part by pictorial representations during the intervals between the acts, narrative of the incidents of the drama conceived to happen during such intervals, substantially as described.

2. The improvement in the art of producing dramatic compositions which consists in representlng part of the drama by means of actors and part by photographic representations of the said actors during the intervals between the acts, narrative of the incidents of the drama conceived to happen during such intervals, substantially as described.

The improvement in the art of producing dramatic compositions which consists in representing part of the drama by means of actors and part by photographic representations during the intervals between the acts in their serial order taken of the said actors while actingthe incident-s conceived to happen during the said intervals, substantially as described.

4. The improvement in the art of producing dramatic compositions which consists in representing part of the drama by means of actors and part by stereopticon views during the intervals between the acts of photographs in their serial order taken of the said actors while acting the incidents conceived to happen dnring the said intervals, substantially as described.

In testimony whereof we have hereunto set our hands this 19th day of September, A. 'D. 1888.

U. LAlVRENCE BARRY. GEO. 1-3. UPHAM.

\Vitnesses:

FRANK L. MURTHA, ALONZO OERTLE. 

